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Hunt Angels - Ben Mendelsohn, Victoria Hill, Alec Morgan

Threat advisory: Elevated - Significant risk of entertaining activities

Movie propaganda

Rupe and Alma were partners in crime... the crime of making movies.

In 1939 Rupert Kathner (Ben Mendelsohn) and Alma Brooks (Victoria Hill) began a movie-making spree that took on the Hollywood barons, a corrupt police Commissioner and the cultural cringe all in their passionate pursuit to make Australian films. On the run from police across thousands of miles, they would stop at almost nothing to get their films made.

Theatrical propaganda posters

Target demographic movie keyword propaganda

Film filmmaking Australia Australian guerrilla true biography history adventure

Persons of interest

Ben Mendelsohn .... Rupert Kathner
Victoria Hill .... Alma Brooks
Gary Boulter .... Bleary Producer
Peter Hansen .... Bathhouse Man
Eloise Oxer
Greg Poppleton .... Film Lab Clerk
Michael Powell .... Young Bren Brown
Alec Morgan .... Screenwriter
Alec Morgan .... Director

Cinematic intelligence sources

Hunt Angels official movie site
Hunt angels film production notes
Hunt Angels QuickTime movie trailers
Awards and film festivals:

Australian Film Institute (AFI) 2006: Won: Visual Effects Award (Rose Draper, Mike Seymour), Best Cinematography In A Documentary (Jackie Farkas); Nominated: Best Documentary (Sue Maslin), Best Direction In A Documentary (Alec Morgan)
Brisbane International Film Festival 2006: Screening
Film Critics Circle of Australia 2006: Won: Best Feature Documentary
Melbourne International Film Festival 2006: Australian Showcase

NB: Black and white
Studios and distributors:

Palace Films

Intelligence analyst

Special Agent Matti

Theatrical report

Hunt Angels is surprisingly similar to another recently released Australian documentary, Unfolding Florence: The colourful life of Florence Broadhurst. Both involve a Little Aussie Battler™ with more charm than skill making their way in the big bad world. Both feature dramatic recreation and interviews. Both involve shady dealings. Both evoke a sense of larrikinism about their subject. Both stop short of lionising their subject. Both celebrate a never-say-die individuality. It's good, even if you aren't into the history of Australian filmmaking. Great cinematography.